Conscious Poetry My Spoken Words

This is a book of short stories and Poetry that will leave you on the edge of your seat wanting more. Suspense, betrayal, and more found in the short stories included in this book. Poetry that will have you in deep thought, and reflecting .

Northern Irish poets have been notably reticent when addressing political issues in their work. In Sympathetic Ink, Shane Alcobia-Murphy traces that tendency through the works of Seamus Heaney, Paul Muldoon, and Medbh McGuckian. Using collections of the poets’ papers made only recently available, Alcobia-Murphy focuses on the oblique, subtle strategies they apply to critique contemporary political issues. He employs the concept of sympathetic ink, or invisible ink, arguing that rather than avoiding politics, these poets have, via complex intertextual references and resonances, woven them deeply into the formal construction of their works. Acute and learned, Sympathetic Ink will serve as a perfect introduction to these crucial figures of Irish poetry.

The popularity of yoga and Zen meditation has heightened awareness of somatic practices. Individuals develop the conscious embodiment central to somatics work via movement and dance, or through touch from a skilled teacher or therapist often called a somatic bodyworker. Methods of touch and movement foster generative processes of consciousness in order to create a fluid interconnection between sensation, thought, movement, and expression. In Moving Consciously , Sondra Fraleigh gathers essays that probe ideas surrounding embodied knowledge and the conscious embodiment of movement and dance. Using a variety of perspectives on movement and dance somatics, Fraleigh and other contributors draw on scholarship and personal practice to participate in a multifaceted investigation of a thriving worldwide phenomenon. Their goal: to present the mental and physical health benefits of experiencing one's inner world through sensory awareness and movement integration. A stimulating addition to a burgeoning field, Moving Consciously incorporates concepts from East and West into a timely look at life-changing, intertwined practices that involve dance, movement, performance studies, and education. Contributors: Richard Biehl, Robert Bingham, Hillel Braude, Alison East, Sondra Fraleigh, Kelly Ferris Lester, Karin Rugman, Catherine Schaeffer, Jeanne Schul, and Ruth Way.

The process of poetry has importantly intuitive aspects and poetry embodies an ambivalence towards consciousness and towards those activities of thought in which it is constituted. It was ability to favour doubt over the productions of the rational mind that led Keats to associate poetry with his 'negative capability'. Consciousness is - like poetry - a floating signifier, a term of wide reference, and with a range of implications in the various disciplinary contexts in which it finds currency. Poetry, consciousness and community is about poetry, consciousness and community, about their reflexive relationships in process, and about how these relationships matter to the world today and to worlds to come. This book is interested in the nature of poetic, as opposed to other, thought; it is interested in the critical application of these forms of thought to each others' productions, and in how poetic thought might or might not be subject to its own regime. Poetry - as practice of testing the limits of language - entails a reflexive goal: that of understanding the journey in words made possible for, and by, the poem. Poetic meaning and truth are revealed between languages (likewise between genres, between texts, between subjects); it is in this inter-subjective and inter-cultural space that the limits of language (and so of conceivable worlds) are found.

"As The Words Flow..." is a collection of poems that speak to the human experience by sharing my own. In a time where I thought no one was listening or would ever understand me, I began to write. I wrote to ease my mind, soothe my broken heart, and to show sides of me most don't get to see, with hopes of inspiring the next person. As a result, this book was created. These are my words. And they have a way of lingering...

Featuring contributions from some of the major critics of contemporary poetry, Twentieth-Century British and Irish Poetry offers an accessible, imaginative, and highly stimulating body of critical work on the evolution of British and Irish poetry in the twentieth-century Covers all the poets most commonly studied at university level courses Features criticisms of British and Irish poetry as seen from a wide variety of perspectives, movements, and historical contexts Explores current debates about contemporary poetry, relating them to the volume's larger themes Edited by a widely respected poetry critic and award-winning poet

An Abstract collection of master poetry complete with illustrations making each individual piece come to life thru descriptive and vibrant writing. This is Lazarus' fifth installment showcasing his gift of poetic expression to the world.

There is extensive literature on Freud and language; however, there is very little that looks at Freud’s use of the spoken word. In Freud and the Spoken Word: Speech as a key to the unconscious, Ana-María Rizzuto contends that Freud’s focus on the intrapsychic function and meaning of patients’ words allowed him to use the new psychoanalytic method of talking to gain access to unconscious psychic life. In creating the first ‘talking therapy’, Freud began a movement that still underpins how psychoanalysts understand and use the spoken word in clinical treatment and advance psychoanalytic theory. With careful and critical reference to Freud’s own work, this book draws out conclusions on the nature of verbal exchanges between analyst and patient. Ana- María Rizzuto begins with a close look at Freud’s early monograph On Aphasia, suggesting that Freud was motivated by his need to understand the disturbed speech phenomena observed in three of the patients described in Studies on Hysteria. She then turns to an examination of how Freud integrated the spoken word into his theories as well as how he actually talked with his patients, looking again at the Studies in Hysteria and continuing with the Dora case, the Rat Man and the Wolf Man. In these chapters, the author interprets how Freud’s report of his own words shed light on the varying relationships he had with his patients, when and how he was able to follow his own recommendations for treatment and when another factor (therapeutic zeal, or the wish to prove a theory) appeared to interfere in communication between the two parties in the analysis. Freud and the Spoken Word examines Freud’s work with a critical eye. The book explores his contribution in relation to the spoken word, enhances its significance, and challenges its shortcomings. It is written for psychoanalysts, psychotherapists, Freud’s scholars and academics interested in his views on the words spoken in life and in psychoanalysis. Argentine born Ana-María Rizzuto trained in psychoanalysis in Boston and was for forty years in the PINE Psychoanalytic Center Faculty and is Training and Supervisory Analyst Emerita. She has made significant contributions to the psychoanalysis of religious experience and has written in national and international journals about the significance of words in the clinical situation. She has written three books and lectured about her work in North America, Latin America, Europe, and Japan.